Managerial career

After having ended his playing career, Bearzot became assistant coach of Torino, working alongside Italian managers Nereo Rocco and Giovan Battista Fabbri. He successively moved in Tuscany to take his first head coaching job in Tuscany at the helm of Serie C side Prato.
However, Bearzot did not go on a club career, and chose instead to start working for the Italian Football Federation: first as under-23 head coach, then as assistant coach of Ferruccio Valcareggi in the 1974 FIFA World Cup. After the German World Cup, Bearzot was appointed as assistant coach of Fulvio Bernardini, and was then promoted head coach of Italy in 1977. It was Bearzot who drove the national team to fourth place in the 1978 FIFA World Cup,[3] obtained thanks to one of the most exciting playing styles in the competition. This performance was repeated in the 1980 European Championship, hosted by Italy.[3]

In the 1982 FIFA World Cup, after poor performances in the three first matches, Bearzot announced the so-called silenzio stampa (press silence) in order to avoid the raising critics from the Italian press. Following that, the Italian team finally started to play its best football, defeating Argentina and Brazil in the second round, Poland in the semi-final and Germany in the Final, leading his team to the first World Cup since 1938.[3]
Italy did not qualify for the Euro 1984.[3] Bearzot resigned after the 1986 FIFA World Cup, which saw Italy being defeated in the round of 16 by France.[3] Bearzot was criticised during the latter tournament for relying to heavily on players from the 1982 team, as some of them were past their best form by 1986.[3]
After a long period of inactivity, Bearzot was appointed President of the FIGC Technical Sector (Settore Tecnico, the main football coaching organization of Italy) in 2002. He left this office in 2005.
Bearzot died on 21 December 2010 in Milan, aged 83.[4][5][6]

Gideon is an American Master Artist and Sculptor of the 20th and 21st centuries died he was , 86. His paintings and sculptures include some of the world’s most known subjects, including the famous Gideon Holocaust Collection.
Signed Gideon (early works were sometimes signed E. Gideon), his works cover nearly the entire spectrum of artistic creativity; Abstract, Impressionistic, Modernistic, Portraits, Landscapes, Seascapes, Sculptures and more.
Gideon has been described as an “artist who borders on being an elemental force” [1] whose own ambitions guided him in the development of revolutionary paints and sculpting compounds, technique and form and application that enabled him to create over 20,000 original works of art during his life.

(11 January 1924 – 21 December 2010)

Gideon’s Youth (1924–1942)

Gideon was born in 1924 in the small town of Overland Park, Kansas. As a child born into a poor mid-west family, growing up during The Great Depression and Dust Bowl made life very difficult.[2] His family was struggling to survive and had little time or interest to assist their son with what they saw as a passing fancy rather than a talent that should be nurtured.

Even through these struggles, his interest in art persevered from an early age. As early as five years old, motivated by his own inner drive, he would fashion paint brushes from twigs, rags and pieces of cotton. He spent hours carving, with only a pocket knife, and painting figures with tiny rags on a stick.
One of these figures was from the long-running cartoon strip “Bringing Up Father” (a.k.a. Maggie & Jiggs). He entered his carving of Jiggs in a school art contest and won first prize—25 cents. With his winnings, Gideon was then able to go to the dime store and purchase two very small cans of paint at 10 cents each, the first real paints he had ever had.
At the age of 12 he created a remarkable portrait of his grandfather done in blue chalk he had picked up from the hardware store. Many of the items he made, including the 78 year old carving of Jiggs, are still in his possession today.Gideon’s early teenage years were spent traveling from state to state with his father and uncle, both of whom were alcoholic drifters. Working whenever he could find someone who would hire a child, Gideon took on several jobs including working on a farm picking fruit and vegetables, working in a laundry, as a janitor for a church, in a donut shop glazing donuts, in an ice cream manufacturing plant and becoming an experience-trained house painter.
When he turned 15, Gideon traveled to Inglewood, CA. He joined a CCC Camp (Civilian Conservation Corps). These camps were designed to give people something to do and keep them off the streets during The Great Depression. However, it also attracted a lot of undesirables a few of whom, immediately, began harassing young Gideon. When he learned about their plan to shave his head and paint it green, he left.
Gideon went to stay with his aunt and uncle in Chicago. They lived in a two-story wooden house with two bedrooms and a bath upstairs. His aunt’s mother slept in one of the bedrooms and Gideon had to sleep on a cot at the foot of her bed. While in Chicago, he worked in a machine shop and began training as a welder. He eventually became a certified welder and iron worker for Chicago Bridge & Iron, a skill he would later come to use extensively in his sculptures.
While there, he entered the Chicago Academy of Fine Arts[3] where he was enrolled in an evening nude figures charcoal class, the first class you were required to take. Just getting to the school was extremely difficult taking hours of walking in all types of weather. The age-old “When I was a kid, I had to walk miles, to and from school, in knee-deep snow and driving sleet” was a reality for Gideon. Within a few months, someone offered him a job and he left the Academy.

The War and Holocaust (1943-1946)

In 1943, even though as a welder he had received a military deferment, Gideon went to Kansas City, Missouri and enlisted in the Army. He remembers the train, with all of the new inductees, pulling into the station outside of Camp Blanding, Florida and being met by the 66th Division Band. Gideon was placed in Field Artillery. However, shortly after his arrival, he was 1 of 100 men chosen to undergo Army Ranger training simultaneously with basic training. Upon completion of training and intense testing, he was one of a few in his division who actually became an Army Ranger.
Corporal Gideon was sent to England with the 66th “Black Panther” Division where he awaited orders. His division was scheduled to be a part of the infamous Battle of the Bulge. While crossing the English Channel, their boats were torpedoed resulting in many casualties. Luckily, Gideon was uninjured although he witnessed countless ships in the division exploding and set ablaze. The division, severely under strength, was then rerouted to the front lines in Southern France where Gideon found himself manning a howitzer with the remnants of the 66th.
Of his experiences in Southern France, Gideon writes:
“After we crossed the English Channel, we all got in trucks, 10 to 13 to each vehicle. It was bitter cold. We headed to Southern France and went directly to the frontlines, but our convoy of trucks and men got lost on the country roads.
“The big guns were going off, trying to pin down our location. The whole sky would light up, like being in the middle of a great fireworks display. Nonetheless, it was very dangerous to get that close to the German lines.
“Only one of our boys could speak a little French, and we finally settled in the woods and made our stand. We built small huts out of anything we could find. Anywhere from two to five guys would sleep in them, but most of us lived in pup tents. We packed snow all around the tents to keep the cold air from blowing in. Every night the Germans would start shooting at us; thousands of tracer bullets streaming over our heads. I could almost reach up and touch them. The sky lit up like 4 July, only it wasn’t a party. They were firing at us, and it was very much for real.
“We killed a lot of Germans while we were there, and spent a lot of time firing above them so the shrapnel would rain down on them and their gun positions. It was bitterly cold but we couldn’t build fires at night for risk of giving up our position. I had icicles on my helmet and shoulders most of the time. Rain, sleet, snow, mud… we lived in it. Sometimes, we could build small fires in the daytime and dry out a little. Imagine crawling into a three foot high pup tent filled with frozen mud, it’s snowing outside and you’re trying to get some sleep. There was mud all over our boots—and we didn’t take them off, either.
“All we had for lunch was a peanut butter sandwich, but we sure had plenty of cigarettes. Each man was issued a carton a week, like it or not. For a toilet we would dig a trench in the frozen ground. No frills. Just cold.”
Even while engulfed in the war, Gideon continued his passion to draw and sketch, storing his sketches and meager drawing implements in a cardboard canister of the type used to pack howitzer shells.[4]
Gideon was reassigned to the 42nd “Rainbow” Division in Salzburg, Austria. At this time, Austria was overwhelmed with homeless civilians, displaced persons liberated from the concentration camps and SS captives. The aftermath of war created a nightmarish logistical problem for the Allies. As an Army Ranger, Gideon was charged with the task of guarding some of the SS captives and tending to the displaced persons.
Gideon witnessed first hand things that have haunted both his dreams and his waking hours through all the intervening years. He watched the endless trails of lost human beings trundling along the roadsides in an attempt to find their way back home through the ashes and the rubble that were the legacy of World War II.
He had seen the fighting of war, perhaps the worst in history, and now he served as an eyewitness to its Genocide and the awful aftermath. Obsessed by the visions he experienced during the war, Gideon would go on to paint and sculpt some of the most harrowing and poignant images of post-Holocaust Europe ever produced.
Ironically, at that time, Gideon had never heard of the famous European artists Gauguin, Renoir or Van Gogh and had no idea of the historic implication the time spent in Europe during the war years would have on his future. This can be seen, today, in his Holocaust Collection. In certain circles he is known as the “Holocaust Man.”
Consisting of his sketches from the frontlines, more than 3 dozen original paintings and nearly a dozen sculptures (some life-size), Gideon’s Holocaust collection remains an artistic journal to this horrific time in human history.
Although this collection is still privately held by Gideon, images of the works can be viewed at www.gideonart.com/holocaust or in print or online in the award-winning book, The Holocaust Chronicle on pages 389, 426 and 599. Editor-in-Chief David Hogan wrote of Gideon’s Holocaust works: “The pieces are striking, and have considerable impact on the printed page. I’m very taken by Gideon’s work.”[5]

After the War (1946 – present)

Commercial & Decorative Years

After the war, Gideon settled in Miami, Florida with “decorations for valor, memories of the kind of combat duty that scars you somewhere inside, and $300.”.[1] Shortly after his arrival in Miami, he got married and had two children. With a family to raise, he became involved in commercial enterprises. He worked painting houses on Miami Beach, as well as painting blouses and other decorative items for sale locally. He briefly attended the Terry Art School in Miami with assistance from the GI Bill, but quickly dedicated most of his waking hours to making a living through his art.
Throughout the 1950s and 60’s, Gideon was contracted by many businesses to provide original works en masse. From an orange juice producer in Lakeland, Florida to large art prints and reproduction companies, to famous hotels, Gideon was in high demand and considered the “Top-Selling U.S. Artist”.[3]
Although difficult to count in retrospect, it is probable that Gideon produced over 10,000 original works[6] for such entities as the Fontainebleau Hotel (Miami Beach, Florida), Jamaica Inn (Jamaica), Aruba Hotel (Aruba), El Rancho Hotel (Port-au-Prince, Haiti), International Inns (Washington DC), Duck Key Hotel (Florida), Rooney Plaza (Miami), Dunes Motel (Miami), Americana Hotel (Miami Beach),[7] Montmartre Hotel (Miami), Doral Beach Hotel (Miami), Key Biscayne Hotel (Miami), Sands Hotel (Las Vegas), Howard Johnson Hotel (Las Vegas), Voyager Hotel (Miami), Ocean Reef Hotel & Country Club (Miami), Kraft Foods, Burdines Department Store, Richards Department Store, Tip Freeman Pictures, and Turner Pictures.
For two years prior to Castro taking control, Gideon kept an apartment in Cuba where he worked during the week. He would fly home on weekends to be with his family as well as to load up necessary supplies for the return trip. While at home, he made his own paint and sculpting materials which he then used in Cuba.
At that time, there were only two major hotels in Cuba. The Hotel Nacional hired him to furnish approximately 1,000 original paintings. The Havana Hilton also hired him to create another 800 – 900 original paintings. During his stay in Cuba, Gideon painted, framed and hung these original pieces in both hotels. Gideon then went south of Cuba to the Isle of Pines, where he produced 7 or 8 bas relief sculptures which he, personally, hung on the walls in the auditorium of El Colony Hotel. To this day, Gideon is unaware of the fate of these works. More than likely, these pieces are lost forever.
Sculpting, in one form or another, has always been a part of Gideon’s life. In 1957, The Pub, an up-scale restaurant in Coral Gables, Florida, contracted with Gideon to sculpt three trees in the center of the dining room. The 30-inch (760 mm) trunks reached from the floor to a 12-foot (3.7 m) ceiling. The limbs from the three trees spanned approximately 30 feet (9.1 m) and came together where they were fastened to the ceiling. The sculpting material used to build these beautiful, realistic trees was and continues to be another creative facet of Gideon’s vast repertoire. As a final touch, rufus, long twigs with leaves and sharp ends, were then inserted into the ceiling. These sculpted trees gave the restaurant patrons the unique experience of dining “outside” while, actually, dining inside.
A huge success, Gideon was contracted to sculpt more trees for other famous landmarks including Jordan Marsh Department Store, the Constellation Hotel (in Toronto), and Maas Department Store.
These projects are all examples of Gideon’s ability to produce, unassisted, quantities of work en masse. It wasn’t uncommon for him to receive single orders for 500 or more original works. For nearly 25 years, this type of commercial decorative art work allowed Gideon to make ends meet and support his family.

Discovery & Innovation

In one respect, Gideon is no different than so many other artists struggling to survive—dealing with the tremendous expense of purchasing art supplies in order to satisfy the need to create. Gideon soon realized that a small $75 tube of paint would not go very far—and that was just one color! Another problem with the tubes of paint was the slow drying process and lack of pliability.
Early on, he began a life-long quest to develop a formula for manufacturing large quantities of paint that would not crack or turn yellow with time, and that was also quick drying and pliable.
As a child, his daughter Terry recalls, “that there were always pieces of cardboard covered with globs of paint laying around the house. He would mix color pigment, oil, etc. in five gallon buckets, stirring with a big stick. He did all of this with no knowledge of chemistry.”
Gideon could not afford a new drill to make the mixing process easier so he bought a used 3/4″ drill from a relative for $10. Over the years, when the drill would break he would weld it and keep going. He still has that drill! Without the years of experimentation and eventual development of his own paint, he would never have been able to produce the volume of work that exists today. Gideon firmly believes that the exorbitant cost of art supplies can stifle creativity in people who might, otherwise, pursue a life in art.
For nearly 60 years, almost all of Gideon’s original works were created from Gideon’s own paint recipes. Today, these formulas remain close to Gideon and are not available to the public.[8]
While coming up with his paint formula Gideon was, simultaneously, working on various sculpting compounds that would not fall apart but, rather, would become very solid and hard. The result of this difficult endeavor is a vast collection of sculptures varying in size from small clay studies measuring several inches, to heavy compounds with steel welded frames standing more than seven feet tall and weighing several thousand pounds. The wide variety of beautiful finishes is indescribable.
Like his paints, Gideon’s sculpting formulas and compounds are not available to the public and remain valued secrets known only to Gideon.

Serious Work & Reclusion

With family life and the commercial art taking most of his time, Gideon still managed to learn, experiment and create what he calls his “serious work.”
Immediately after his return from the war, Gideon began painting and sculpting creative, serious art work. He did this both for his own study, as well as to sell individually to serious art collectors.
For decades, Gideon created hundreds of magnificent serious works of art, both painting and sculpture. His heavy, thick paint was often a staple signature of his unique works. As early as the 1950s, Gideon began painting his world-famous “old men” and harbor scenes. Coupled with heavy sculptured frames that Gideon made himself, these classics are highly sought by private collectors.
Early on, Gideon had dozens of “One Man Shows” [9] and had won many awards. Well-known at the time, Gideon did as any other up-and-coming artist does and made waves with these events and personal galleries locally and abroad.[10]

However, in the early 1970s, nearing 50 years of age Gideon closed the door on public life in the arts. Tired of being worked to the edge with commercialism and decorative art, Gideon decided he had his share of art shows and dealers and sought to focus on his serious works.
During an interview by the Clearwater Sun in 1963, Gideon said “At first I painted things the public liked and could pay for… Now I do this sort of thing for myself.” [3]For the next few decades, Gideon created thousands of serious sketches, paintings and sculptures. He operated his own private art gallery in Miami, Florida, selling some works to private collectors directly as he needed to survive. He never dealt with third-party galleries, auction houses or dealers again.
Over the years, Gideon has created one of the largest, most prolific collections of art work by one man. In modern day, this private collection consists of over 5,000 original works and is still housed and kept by Gideon. Although in recent years, Gideon has begun searching for another entity, such as a private collector or museum or “treasure hunter”,[11] to acquire this collection and share it and his life story with society and generations to come.

The Later Years: Gideon in the 21st Century

Unfortunately, the poor environment Gideon has been forced to work in during the past 60 years has taken its toll on his health. The many chemicals and various epoxies involved in his work, have caused breathing problems. Since the 1990s, Gideon has suffered from COPD and diminished breathing capacity.
Thursday, April 12, 2001 was declared “Gideon Day” with an official Proclamation by the Miami-Dade County Office of the Mayor and Board of County Commissioners whereby Mayor Alex Penelas and Commissioner Javier Souto proclaimed “[We] call upon the good people of Miami-Dade County to join me in recognizing this extraordinary artist and citizen for all of his invaluable contributions to this community as well as the culture of South Florida.” [12]
In November 2002, Gideon left Miami after 56 years and moved to Thomasville, Georgia in an effort to get away from city life and rest peacefully. At 78 years of age, the relocation of his life’s work was a huge undertaking and one that he doesn’t want to repeat. Gideon’s private art works required nearly a dozen large moving trucks and countless trips and man hours.
In 2004, Gideon was diagnosed with a very rare and debilitating disease, Myasthenia Gravis. Plagued with double vision, lack of muscle control, difficulty eating and swallowing and breathing failure, Gideon has truly struggled to continue to paint and sculpt.
Gideon passed away just after 3:00am on Tuesday, December 21, 2010 from a lengthy illness.

Marcia Lewis was an American character actress and singer died from cancer she was , 72.. She has been nominated twice for the Tony Award as Best Featured Actress in a Musical (Chicago and Grease) and twice for the Drama Desk Award for Outstanding Featured Actress in a Musical (Chicago and Rags).

Stage and television

Lewis made her Broadway debut in the original production of Hello, Dolly!, taking over the role of Ernestina. Additional theater credits include The Time of Your Life (1969), Annie, taking over the role of Miss Hannigan in April 1981, Rags (1986) (nominee, Drama Desk Award, Outstanding Featured Actress in a Musical), Roza (1987), Orpheus Descending with Vanessa Redgrave (1989), and the 1990 revival of Fiddler on the Roof as Golde. Lewis appeared in the 1994 revival of Grease as Miss Lynch, and was nominated for the Tony Award, Best Featured Actress in a Musical. She appeared as the Matron in the 1996 revival of Chicago. For her work, she received nominations for the Tony Award, Best Featured Actress in a Musical and Drama Desk Award, Outstanding Featured Actress in a Musical.Cite error:
She appeared at the Off-Broadway Theatre of the Zanies in An Impudent Wolf (1965), the Players Theatre in Who’s Who Baby? (1968), and Playwrights Horizons in Romance Language in 1984 and When She Danced in 1990.[4]
Lewis toured in Cabaret as Fraulein Schneider and appeared in Chicago at the Mandalay Bay hotel in Las Vegas, Nevada, for three months.[3] Her television credits include guest appearances on The Bob Newhart Show (1975), Baretta (1975), The Bionic Woman (1976), Happy Days (1977, 1979), the TV movie When She Was Bad (1979) and Kate and Allie (1988).[5]

Cabaret and recording

As a singer, Lewis performed in most of the leading cabarets and supper clubs in Manhattan, including Rainbow & Stars, Upstairs at the Duplex, Upstairs at the Downstairs, Grande Finale, Reno Sweeney’s, Freddy’s Eighty-Eights, Town Hall, The Village Gate, and the Russian Tea Room. Lewis also appeared in concert at Carnegie Hall.[6][3][2]
Lewis’ solo album Nowadays (1998), a collection of showtunes and standards recorded with the Mark Hummel Quartet, is available on the Original Cast Records label.[2]

In 1975, Courtney and the actor playing her love interest, George Reinholt, were fired, allegedly for “storyline purposes”. Head writer Harding Lemay reported in his memoir, Eight Years in Another World, that Courtney was fired because she was a bad actress, although she did have huge popularity with the soap audience. In reality, conflict brewed backstage because many longtime actors, including Courtney, were trying to protect their characters’ integrity in the face of Lemay’s changing scripts. After being dismissed by producer Paul Rauch, Courtney went on to play Pat Kendall on ABC’s One Life to Live until 1983, when the network fired her just before bringing Paul Rauch in as producer.
Courtney reconciled her differences with Another World and started back on the show as Alice on the 20th anniversary show in May 1984. She played the role until the next year when she was fired due to lack of story for the character. In 1989 she returned for the show’s 25th anniversary and for Mackenzie Cory’s funeral.
After a small role as madame Diane Winston on Loving in 1987, Courtney retired from acting, though she appeared, alongside Reinholt, on the TV special 50 Years of Soaps: An All-Star Celebration in 1994.
Courtney died on December 20, 2010, after a bout with metastatic melanoma[1]. She was survived by a daughter, Jennifer, from her marriage to Carl Desiderio from 1970 to 1978.

Preceded byN/A

Actress playing the “Alice Matthews Frame” character on Another World
1964-1975

Quote

Landesberg is credited with the quote “Honesty is the best policy, but insanity is a better defense.”[2]

Death

Landesberg died from colon cancer on December 20, 2010, aged 74. Initial reports of Mr. Landesberg’s death, relying on numerous biographical sources, said he was 65.[3] He is survived by his widow Nancy Ross Landesberg and a daughter.
In acknowledging that he was actually nine years older, his daughter Elizabeth said he had provided varying birth dates over the years. “He got kind of a late start in show business,” she explained, “so he tried to straddle the generations. He fooled the whole world. People were surprised to think he was even 65.”[4]

Magnolia Shorty, born Renetta Lowe, was an Americanrapper in the New Orleans-based bounce music scene was shot.during a drive by shooting she was 28.[1] She and Ms. Tee (Trishell Williams) were the first women signed to Cash Money Records.[2] Her 1997 debut album Monkey on the Dick (often stylized Monkey On Tha D$ck) is considered a bounce classic, and she “was already considered a legend of bounce music” at the time of her death.[2]Offbeat said the album exemplifies “the eccentric New Orleans elements of sexuality, comedy and hard edged dance rhythms.”[3] In his 2007 book Triksta, Nik Cohn credits Magnolia Shorty with his own discovery of bounce, and the third chapter of that book is named after her debut album.[4]

(1982 – December 20, 2010)
Magnolia Shorty was discovered by Birdman.[5][6] She got her nickname from Soulja Slim, also known as Magnolia Slim, because both had grown up in New Orleans’ dangerous Magnolia Projects.[7] Nicknamed “Queen of Bounce,” she collaborated with many Cash Money artists beginning in the 1990s, including Juvenile and Hot Boys.[4] She was first featured on Juvenile’s 1997 song “3rd Ward Solja.”[8] In 2009 she appeared at the SXSW music festival[9] and won Best Bounce Song at the Underground Hip-Hop Awards in New Orleans.[2] She was a member of Lil Wayne‘s Cash Money crew in the early 1990s, and she was collaborating as well as working on her second album on the Cash Money/Young Money label in 2010.[10]
She was shot and killed in a car with Jerome Hampton in a double homicide in New Orleans.[11][12] Police described the crime as a drive-by shooting.[13]

Anthony Michell Howard, CBE was a prominent British journalist, broadcaster and writer. He was the editor of the New Statesman, The Listener and the deputy editor of The Observer died from a surgery for a ruptured aneurysm he was 76. He selected the passages used in “The Crossman Diaries”, a book of entries taken from Richard Crossman’s “The Diaries of a Cabinet Minister”.

Career

Howard was political correspondent of the New Statesman from 1961 until 1964. An admirer of Labour leader Hugh Gaitskell during this period, he was a strong advocate of the democratic process:

“I strongly believe that people should have the right to elect their own rulers and for a long time I was deeply affronted by what the Conservative Party did and never more affronted than when Alec Douglas-Home became leader of the Conservative Party. That seemed to me to be an Etonian fix organised by Harold Macmillan.”[2]

In January 1965, Howard joined The Sunday Times as its Whitehall correspondent, a post he saw as being in advance of the then current journalistic practices.[3] Cabinet Ministers were instructed by Prime Minister Harold Wilson‘s private secretary not to co-operate with Howard. Civil servants received similar instructions.[3] Howard though, was soon invited to become the Observer’s chief Washington correspondent, serving in the role from 1966 to 1969, later contributing a political column (1971-72). During his period in America he made regular contributions to The World At One on Radio 4. “It got to where I was almost the World at One Washington correspondent”, he once remarked.[4]
As editor of the New Statesman (1972-78), succeeding Richard Crossman, whose deputy he had been (1970-72), he appointed Robin Cook as the magazine’s parliamentary adviser in 1974,[5] (Cook also contributed articles), James Fenton, Christopher Hitchens and Martin Amis as literary editor in 1977. Under Howard, the magazine published a rare non-British contributor: Gabriel García Márquez in March 1974, on the overthrow of Salvador Allende‘s elected government in Chile the previous September. Perhaps out of a sense of mischief, he featured a series of diatribes against the British Left, by the magazine’s former editor Paul Johnson, a drinking companion and friend of Howard’s, whose rightward drift was well advanced by then. Howard was unable to halt the magazine’s fall in circulation, however. He then edited The Listener for two years (1979-81).
Howard was deputy editor of The Observer (1981-88), where one of his journalist protégés was the journalist and (later) novelist Robert Harris, whom he appointed as the newspaper’s political editor. His professional relationship with the editor, Donald Trelford, ultimately broke down over allegations that Trelford had allowed the newspaper’s proprietor Tiny Rowland to interfere in editorial content. After leaving The Observer, following an ill-fated editorial coup against Trelford, he was a reporter on Newsnight and Panorama (1989-92), having previously presented Channel Four’sFace the Press (1982-85). His last editorial positions before turning freelance were at The Times as Obituaries editor (1993-99) and Chief Political Book Reviewer (1990-2004), though he contributed opinion columns to the newspaper until September 2005, when his regular column was discontinued.
Howard assisted Michael Heseltine on his memoirs, Life in the Jungle: My Autobiography (2000), and more recently published an official biography Basil Hume: The Monk Cardinal (2005), despite being an agnostic.

Personal life

Howard married Carol Anne Gaynor, herself a journalist, in 1965. He was awarded the CBE in 1997. He died in London, after surgery for a ruptured aneurysm.[6]

Baseball career

Cavaretta attended Lane Tech High School in Chicago, and signed a professional contract with the Cubs before finishing high school. In his first professional game with Peoria at age 17 in 1934, Cavaretta hit for the cycle as a right fielder. That same year he was brought up to the Cubs to replace manager Charlie Grimm at first base. He first appeared in a major league game on September 16, 1934, less than two months after his 18th birthday, pinch-hitting unsuccessfully for the Cubs’ shortstop Billy Jurges in the fifth inning of the first game of a doubleheader in Brooklyn. A week later, on September 25, in his first start and his first appearance at the Cubs’ home park, Wrigley Field, Cavaretta hit a home run that supplied the winning margin in the Cubs’ 1-0 win over Cincinnati.[1] In his 1935 rookie season, he batted .275 with 82 runs batted in, also leading the league in double plays, as the Cubs captured their third pennant in seven years by winning 21 straight games in September; however, he batted only .125 in the World Series loss to the Detroit Tigers. Over the next several seasons he provided solid if unspectacular play at first base, routinely batting between .270 and .291 every season but one through 1943, though he lost significant playing time from 1938-40 due to a hip injury and an ankle broken twice while sliding. In the 1938 World Series against the New York Yankees, he batted .462 as the Cubs were swept.
Exempted from World War II service because of a hearing problem[citation needed], in 1944 Cavaretta batted .321 with a league-high 197 hits, had career highs with 106 runs, 35 doubles and 15 triples, and earned his first of four straight All-Star selections (reaching base a record five times in the game) though the Cubs suffered their fifth consecutive losing season. But the team improved by 23 games in 1945, edging the defending champion St. Louis Cardinals by three games for the pennant as Cavaretta was named MVP. That season he also had a career-high 97 RBI, leading the NL in on base percentage and finishing third in slugging average. He batted .423 in the World Series against the Tigers, though the Cubs again lost, in seven games. In Game 1, he singled and scored as the Cubs took a 4-0 lead in the first inning, singled and scored again in the third, and homered in the seventh as Chicago took the opener 9-0. He scored the Cubs’ only run in Game 2, and in an 12-inning 8-7 win in Game 6 had a 2-RBI single and scored a run; he had three hits in Game 7, but the Cubs lost 9-3.
He made the All-Star team again in 1946 and 1947, batting .314 the latter year, as the Cubs again fell back in the standings. Over the next six years, he played a gradually diminishing role with the team. He was named manager in June 1951, succeeding Frankie Frisch, though the team finished in last place; continuing as manager for two more years, he compiled a record of 169-213. In 1953, his final season with the Cubs, he surpassed Stan Hack‘s modern team record of 1,938 games; Ernie Banks would eventually break his mark of 1,953 games in 1966. Cavaretta was fired during 1954 spring training after admitting the team was unlikely to finish above fifth place (they finished seventh), and in May he signed with the crosstown Chicago White Sox; he ended his career there in 1955.

Legacy

In his 22-year major league career, Cavaretta compiled a .293 batting average with 95 home runs and 920 RBI. He later managed in the minor leagues from 1956-58 and again from 1965-72, became a coach and scout with the Tigers, and was a New York Mets organizational hitting instructor.
Cavaretta was the last living player to have played against Babe Ruth in a major league game; he did so on May 12, 1935, against the Boston Braves.[2]

Death

On December 18, 2010, Cavarretta died of complications from a stroke. He was also battling leukemia at the time of his death. [3]